“Beautiful are the things we see, more beautiful the things we understand, but the beauty is in truth, the ones we do not understand,” wrote the Danish 17th-century theologian Nicolaus Steno. And the draw against the inexplicable, the mysterious, the macabre and the scary goes as a wide stream in art history. Now the National Museum shows the broad -spectrum thematic exhibition «Gothic Modern. From darkness to light, ”which depicts the deep fascination for the Gothic that grew from the beginning of the 19th century and flourished far into the twentieth century. In advance, I am full of expectation for this project. I just think it’s a great idea. Gothic inspiration: The exhibition will explore how the Gothic style has inspired artists in modern times. The Gothic is timed until about 1140 to 1500 and first occurred in French church architecture. Photo: Ina Wesenberg / news This turn from enlightenment to romance is so interesting: From the strong rational focus on ancient design language and ideals, to the draw against the Middle Ages – with the gothic style of the sky ribs and mood -charged light mysticism. On the way to the National Museum, I ponder whether they want to unfold this flow throughout their breadth, with the interesting reflexes in the literature as well. In very different ways, among others, Mary Shelley, Bram Stoker, Edgar Allan Poe and Oscar Wilde Wilde Livets Nightside, grew the night, the dark and the uncle. Missing a more extensive medieval backdrop and although the literature has not been given any place in the exhibition, there is really no lack of great and interesting works of art. Here, older and recent art are merged in a nice way. Still, I have to admit that I’m a little disappointed. Apart from some magnificent Gothic single works, such as a beautiful and grotesque pietà sculpture in wood, most of the older art in the exhibition is taken from the right. Here we find works by, among others, Hans Holbein Dy, Albrecht Dürer and Lucas Cranach they and except some prints by Dürer, this is also not artists who can be said to grow a particularly Gothic expression. What is Gothic? This sculpture (TV) is actually Gothic, “Divorce from the Cross” by an unknown artist, from approx. 1390. It is creepy and a bit creepy. The folds of the dress are like living beings. You could have more that in the exhibition, you ask me. The image of Lucas Cranach de, “The Holy Sebastian” (1543) is not as clear Gothic. Is it included because it is a religious motive? But it is also a bit creepy indeed. Interestingly, it is not the martyr itself that represents it scary, despite the many arrows that pierce his body. It is more the monstrous, almost animal strain in the background. This is a fascinating image. Photo: Mona Pahl Bjerke / Børre Høstland / news / National Museum Here I believe that the museum could really create a far more extensive and vibrant medieval backdrop, both based on its own fabulous collection, but also with the possibility of exciting borrowing. Sit blind on skulls and bones but not the selection of the newer works hits completely on the brand, as I see it. Here it seems that the curator has seen a little blind on the literary theme itself. Instead of looking for a medieval darkness and a Gothic horror in the artistic expression itself, the modern art history of works containing skulls, bones or other references to death and dark – regardless of the aesthetic, but also the work’s artistic quality. Weak: This is a scandalous bad image from Dutch champion van Gogh. The skeletal body looks like a bunch of bones. I think this was hardly meant as a serious painting from van Gogh’s side. Photo: Vinvent van Gogh, “Head of a Skeleton With A Burning Cigarette”, 1886 @ van Gogh Museum, Amsterdam (for example, you have included a rather faint painting of Vincent van Gogh showing a skull with cigarette in the mouth. Another example is Arnold Böcklins ” Böcklin’s picturesque expression. The magazine for weak and strong works that depicted musicians, orchestras, violins and cellos. It is only the motif and story that conveys something scary. The same is true of Ernst Ludwig Kirchner’s expressive painting depicting soldiers in bathrooms during World War I. This is not a particularly Gothic theme, and the picturesque design language itself is characterized by light, beauty and vitality. For bright: Ernst Ludwig Kirchner’s “Soldierbadet” (1915). The aesthetics have no uncontrolled. Too bright and friendly. Photo: Børre Høstland / news Glossy -like: “Death and the young girl” by Marianne Stokes (1908). Although it is scary with the death angel who comes to the young, sick woman, it is not a real mood. Photo: Patrice Schmidt / Musee d’Orsay Dist. RMN-Grand Palais/Hervé Lewandowski enigmatic choice: “Maria” by Helene Schjerfbeck (1906). What is Gothic about this? This is neither unclear in its expression, nor in its motive. It is really one of the weaker paintings of the rough Finnish painter. Photo: Hannu Aaltonen / Finland’s National Gallery / Ateneum Art Museum There are also a little too many works that neither aesthetically nor thematically belong in the context, such as Helene Schjerfbeck’s back -facing female figure in white. Admittedly, the painting is titled “Maria”, so maybe you mean that the references to the Madonna motif connect it to Gothic? I don’t know. At least I experience the connection as quite flimsy. And where is the horror romantic master Francisco de Goya in this exhibition? At least it’s a strange omission. Highlights but fortunately the exhibition also offers some well -chosen works. Theodor Kittelsens is of course a brilliant example. Through his virtuoso drawings, he urges nature’s horrors. In the exhibition, for example, we can see the horror -hunting image of Pesta. Good choice: Theodor Kittelsen falls into the theme perfectly. Here is the atmosphere of the uncanny swings in the aesthetics, in the denominations and lights. Here: “Pesta in the stairs”. Photo: Børre Høstland / National Museum Pest: Through its spoken depiction of the Black Death, Kittelsen has helped to consolidate the notion of the pesta, the personified black death, as a curved old wife with a sopelime. This is Gothic as just that! Here: “Pesta goes”. Photo: Jacques Lathion / The National Museum Unusual: “The poor man”. Photo: Morten Thorkildsen / National Museum Another example is Ernst Barlach’s poignant and form -striking sculpture of two figures clinging to each other in anxiety and despair (see the sculpture in the Bildesfowp below). Here, the German expressionist conveys an experience of timeless horror, through his powerfully simplified and almost cubist design language. Another of the German expressionists who really convey the scare aesthetically is Käthe Kollwitz. The picture “Hunger” is painfully anxious. With simple grips, Kollwitz portrays the gnawing hunger in a mother with his child. On the brand: “Hunger” by Käthe Kollwitz. The breasts, which should have been a source of life, are transformed into skin fillets hanging on the outside of the chest, where the ribs clearly appear as a grotesque death reminder. Photo: Mona Pahle Bjerke / news Munch is Munch, and Munch is good. But is Munch Gothic? Self -portrait with knuckle arm from 1895 has something sucking and creepy, with the luminous face and white skeletal arm towards the dark. It works well within the exhibition’s thematic framework. Photo: Andreas Harvik / National Museum Grinding: I think this is one of the highlights of the exhibition. The wood sculpture “The reunion” by Ernst Barlach from 1926. Photo: Ina Wesenberg / National Museum of Art, Architecture and Design / The National Museum of Art, Architecture and Design Really creepy and painful: “Tote nut” by Max Klinger (1898). Here we see the little child and the dead mother. That her body is completely flat, so she appears to us as gone; Enter us with a deep fear. The background is also eerie. Photo: Andreas Harvik / National Museum of Art, Architecture and Design / The National Museum of Art, Architecture and Design Vigeland is more than Vigelandsparken. He played a very important role in the restoration work of the Nidaros Cathedral, and became the pure expert on Gothic sculpture. He traveled on a study trip to French and English cathedrals. This bust is the apostle John. Photo: Ina Wesenberg / National Museum for Art, Architecture and Design / The National Museum of Art, Architecture and Design All in all has “Gothic Modern. From dark to light »A lot of exciting to offer. And it is definitely an exhibition that is worth a visit. However, it is annoyed that here you are far from the wonderful opportunity that lies in the theme. About the exhibition title: «Gothic Modern. From dark to light »Institution: The National Museum of Art (in collaboration with the Ateneum in Helsinki and Albertina in Vienna) Curator: Vibeke Waallann Hansen City: Oslo Period: From February 28 to June 15 Estimated time: 40 to 60 minutes Change log 11.03.03.25 at. 10.23: The following wording in the body “The same I think applies to Ernst Ludwig Kirchner’s expressive painting depicting the gassing of Jews in a concentration camp. Of course, this is a very dark and unpleasant theme, but Gothic it is not, and the picturesque design language itself is characterized by light, beauty and vitality. ” Changed to “The same is true of Ernst Ludwig Kirchner’s expressive painting depicting soldiers in bathrooms during World War I. This is not a particularly Gothic theme, and the picturesque design language itself is characterized by light, beauty and vitality. ” The caption in the corresponding image changed from “Too Lyst: Ernst Ludwig Kirchner’s” Soldierbadet “(1915). Literally, it is a very unbelievable topic, but the aesthetics have no uncontrolled. Too bright and friendly. ” To “Too Lyst: Ernst Ludwig Kirchner’s” Soldierbadet “(1915). The aesthetics have no uncontrolled. Too bright and friendly. ” Published 11.03.2025, at. 06.01 Updated 11.03.2025, at. 10.24
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